Let us dwell on this expression of sanctity--the distinctive feature in the personage produced by M. Cabuchet. Sanctity has a strikingly physiological character. It changes the exterior man, and transforms his countenance. The action of Jesus Christ, dwelling constantly in the soul, gives to the features a reflection of a superior order. Sanctity, to speak properly, represents the fusion of divine and human nature. The pervading feature of saints is a calm, a serenity, a natural goodness which attracts and subjugates us. The transfigured soul transfigures its envelope, and we might imagine divinity showing itself through the encasement of the body. If the beautiful is the glory of truth, the saint is the glory of good. {207} The statue of the Curé d'Ars possesses to a striking degree this _suprasensible_ aspect that I have just noticed. By contact with divinity the marble itself is transfigured--grace sheds its beams and gives to the features a kind of immaterial transparency. Jesus Christ is present and breathes into the passionate and ravished eyes, into the lips and the blessed smile; the personage lives in another world; his attitude, his movements have nothing in common with earth. If the spectator could ignore the name of the priest represented, his attention would not be less arrested, and he would easily recognize in his face the presence of a supernatural element, heightening the human personality. Here, however, I will make a remark. The body of the Curé d'Ars is not in unison with his face; it is too material, too vigorous, too vulgar even, if I dare speak from my heart. "The cassock of the Curé d'Ars seems to have nothing under its large folds," said the biographer. ... "He was a shadow," added he still further. Now, the Curé d'Ars of the artist has nothing of a shadowy appearance. His shoulders are strong, his breast large, his hands knotty. The sculptor has wished to express the humble origin of the priest, but in my opinion he has forgotten the transformation which the contemplative and mystical life had necessarily operated in the organization of the saint. This remark, necessary to be made, detracts nothing, or almost nothing, from the merit of the work; it could only be appreciated by those who have personally known the Curé d'Ars, and ceases to be of import since his death. V. We can now understand the character and various merits of the statue of M. Cabuchet. All who see it retire satisfied, and the mass of spectators are struck by the pious and compassionate expression of the holy priest. Connoisseurs admire the freedom of the effect and of the execution. The author may be proud of his success. He has paid for it by effort and anguish of every kind, and it is well to know sometimes these artist-struggles, that we may rightly value the works that charm us so much.